Written for the 99th issue of Trafic (Fall 2016) — a revision and slight expansion of two previous essays. — J.R.
The rapidly and constantly expanding proliferation of films and videos about cinema is altering some of our notions about film history in at least two significant ways. For one thing, now that it has become impossible for any individual to keep abreast of all this work, our methodologies for assessing it as a whole have to be expanded and further developed. And secondly, insofar as one way of defining work in cinematic form and style that is truly groundbreaking is to single out work that defines new areas of content, the search for such work is one of the methodologies that might be most useful. In my case, this is a search that has led to considerations of two recent videos by Mark Rappaport: I, Dalio — or The Rules of the Game (2014, 33 minutes), and Debra Paget, For Example (2016, 37 minutes). Both are highly personal works that also define relatively new areas of on-film film analysis, forms of classification that can be described here as indexing.
Rappaport was born in New York and he lived and (mostly) worked there until he moved to Paris in 2005, although his work with found footage started over a decade earlier with Rock Hudson’s Home Movies (1992), followed by Exterior Night (made in Germany for German television in 1993), From the Journals of Jean Seberg (1995), The Silver Screen: Color Me Lavender (1997), and his 2002 short John Garfield. … Read more »
From the Chicago Reader (June 30, 1989). — J.R.
A very enjoyable documentary survey of American comic books, from their inception in 1933 to the present, by Canadian filmmaker Ron Mann (Imagine the Sound, Poetry in Motion). Newspaper comic strips such as Little Nemo in Slumberland, Krazy Kat, Dick Tracy, Li’l Abner, and Peanuts are omitted, but within the comic-book field, Mann’s reach is fairly broad, extending from diverse superheroes such as Superman and the Fantastic Four to EC Comics to underground artists such as Robert Crumb and Spain Rodrigues to recent figures such as Art Spiegelman, Lynda Barry, and Sue Coe. Jazzy graphic devices are employed to represent the work, including simplified animation and individual frames accompanied by the artists reading the captions and dialogue aloud, and the interviews are generally both lively and pertinent. Mann also gets a lot of amusing mileage out of archival footage of anti-comic-book propaganda from the 50s. One misses the kind of in-depth formal analysis given to comics by such overseas experts as Francis Lacassin, but otherwise Mann’s grasp of his subject is lively, penetrating, and affectionate. A Chicago premiere. (JR) (Music Box, Friday through Thursday, June 30 through July 6)
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From the Chicago Reader (July 1, 1989). — J.R.
This movie has its share of laughs, but it’s also Ron Howard’s most personal film, and clearly his most ambitious — a multifaceted essay in fictional form about the diverse snares of child rearing. The movie tries for so many things in so many different registers — there are a number of fantasy interludes and raunchy gags along with an overflowing cast of characters (including Steve Martin, Tom Hulce, Rick Moranis, Martha Plimpton, Keanu Reeves, Jason Robards, Mary Steenburgen, and Dianne Wiest) — that the results are often unwieldy, but they’re certainly heartfelt: Howard’s grown-up sentimentality is the perfect antidote to the infantilism of Spielberg and Lucas and their disciples. The film never shies away from real problems, and the complex mix of comedy and seriousness in its treatment of the pitfalls of parenthood steadily grows in feeling and power. The movie may wind up being as messy as it argues that family life is, but it commands admiration and respect. The screenplay is by Lowell Ganz and Babaloo Mandel, based on a story that they wrote with Howard (1989). (JR)
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